I went down to the Oceanside Pier again tonight and using an improved technique again took several 3 image HDR image sequences. Generally speaking they were +/-1 f-stop images and I tried to keep the tone-mapping to a very natural look. These are sharper than the ones from yesterday (but the sunset was not as spectacular).
The images are in my Southern California image album page 6.
I went down to the Oceanside Pier tonight because the cloud pattern looked promising for a spectacular sunset and took several 3 image HDR image sequences. Generally speaking they were +/-1 f-stop images and I tried to keep the tone-mapping to a very natural look. I learned a few things tonight about my technique and will apply them next time.
The images are in my Southern California image album page 5 and Southern California image album page 6.
I went down to the Oceanside Pier on Friday mid-day (it was clear skied and very hot) and took some 3 image HDRs of various sights. Generally speaking they were +/2 f-stop images and I tried to keep the tone-mapping to a very natural look.
The images are in my Southern California image album page 4 and Southern California image album page 5.
This summer I have been fairly diligent about swimming at the beach. I go nearly every day, regardless of the weather, the tides, the surf or the water temperature. I also go to the same place every day; Oceanside’s Tower 9, at the end of Oceanside Blvd at Pacific St in Oceanside, CA.
Oceanside beach’s Tower 9 at Oceanside Blvd and Pacific St is placed there permanently.
I have been taking a photo or 2 (or 3) every time I go down there, just to document the event. Sometimes the sky is blue and the air warm, sometimes it’s not.
Sunny day at Oceanside Tower 9
Tropical cloud day at Oceanside Tower 9 just before a cloudburst.
I don’t always photograph it from the street, sometimes I shoot it from the sand, or the rocks.
The neighbors have their own wishes and prayers for the surfers who come down here to ride the waves.
Surfer’s Prayer on the side of a house near Oceanside Tower 9.
Amen!
HDR photography is all the rage now. I know how to make them and I like them but while I can see how they are a huge step forward in photography both technically and creatively I am still not convinced it isn’t a fad. I will certainly say that I far prefer HDR images that have a more natural look to them than the Photomatix-ified comic book looking tone-mapped HDRs that seem to have captured the most attention.
Here’s are a couple of HDR images I did the other night. I like how the water swirls around and smears the lines of the support posts in this image: HDR image 1 of the Oceanside Pier area.
Oceanside Pier HDR 1
I like this one since it has both an ethereal and a realistic quality to it: HDR image 2 of the Oceanside Pier Area.
Oceanside Pier HDR 2
These were made with 5 separate exposures each ranging from -2 to +2 stops exposed. I converted them from 32 bit to 16 bit images using either exposure and gamma (HDR 1) or local adaption (HDR 2) conversion processes, did a little sharpening and that’s it, really. I’m still experimenting with this technique; I use the HDR function built-in to Photoshop right now.
Ideally Canon would issue a firmware update that allows me to make 5 or even 7 auto exposure bracketing images to more fully exploit this technique (my 40D only has a 3 image AEB function now).
Panorama images have become a favorite photographic technique for me. I really enjoy making huge panoramic, sweeping images from multiple exposures. Panorama photography is easy to do; you don’t need a special camera and in some cases you don’t even need any particular special technique.
For example, this panorama of Death Valley’s Racetrack Playa was created by taking 5 individual exposures and using Photoshop’s built-in panorama function.
This image – as many of mine are – was hand-held. This panorama of Panamint Valley was created with 12 or 14 images (6 or 7 across 2 rows) and is a huge file.
For a basic panorama you should carefully set up your shot and have about 20% to 25% overlap from image to image. I always hold the camera in portrait orientation for horizontally-oriented panos and in landscape orientation for vertical panos.
You should set the camera’s exposure mode to Aperture Priority to ensure that the depth of field does not change from image to image and you should also remove the polarizer filter if you have one attached to the front of the lens. Aperture priority means you select an “f-stop” (the lens aperture) and the camera will select a shutter speed appropriate for the conditions. All of this assures that each image’s exposure will be similar and will look natural when they are all stitched together.
When capturing images of objects or scenery far away relatively speaking, a handheld approach provides good results. But, when a panorama of close-in objects or a scene is desired, the proper technique and the proper equipment is required. The workflow with the camera is the same, but rotating the camera around it’s nodal point and eliminating parallax is vital.
Another approach is to use a robot, such as the Gigapan product line. The cost differential between a full-blown Really Right Stuff manual set up and a Gigapan set up is minimal, with the advantage to RRS that no batteries are required and the advantage to Gigapan that the process is automated.
Many software options exist (Mac OS X search); the Gigapan system comes with it’s own software, Photoshop CS3 and above has a panorama mode included. I have used Kekus Software’s PTMac software as well as their Calico product. Most of these are a lot more “hands off” and designed for ease of use. They have a lot of internal smarts and can do a top-notch job of merging the individual images into a gorgeous panorama image.
PTMac, however, is fundamentally different from these others; it is designed to give you the most control possible in selecting overlapping control points from adjacent images and save those control points as a file which can be used for subsequent panoramas. Why would you want to do that? Well, the most important application is if you want to do an HDR panorama. You can do it two ways; you create individual HDR images for each panorama segment and then stitch them together, OR you can stitch each set of image exposure sets and then HDR the 3, 5, 7 or more panoramas into an HDR image. But to do that, you must stitch all the exposure sets using the same control points; otherwise you’ll get alignment and registration problems when you try to build the HDR image.
This panorama of Mission San Luis Rey de Francia in Oceanside, CA was shot at night and used 3 rows of 5 images each. I have several others similar to this at my Southern California gallery at my photo gallery (Alan R Zeleznikar Photography).
